Final Crisis 1 Director's Cut

[Paul McEnery]

So, not really worth seeing the black and white art with no balloons -- it was designed to we worked over by Sinclair. And I didn't see much in a casual once-over in the script that was illuminating. But the commentary from Jones and Morrison is a hoot, especially on the last page, which goes something like:

He wakes up as if he has dreamed the whole issue -- and perhaps he has!

[berk]

I didn't even notice this in the shop today. Must have a glance at it next time. I'm curious about any commentary or script instructions it might contain because from what we saw in the other thing, the sketchbook, Jones isn't really following all of Morrison's directions, to the detriment of the story-telling IMO.

[Adam C]

I didn't even notice this in the shop today. Must have a glance at it next time. I'm curious about any commentary or script instructions it might contain because from what we saw in the other thing, the sketchbook, Jones isn't really following all of Morrison's directions, to the detriment of the story-telling IMO.

Really? I never got the sketchbook, so I'm curious about this part.

I bought it today (mostly for the sake of the script) when I went out to get FC #3. I'll probably have some thoughts later.

[vickvega]

Berk, I agree. One panel Morrison writes about the Bar scene with the TV news on reporting from Bludhaven, with the Minister, he says to include Atomic hounds(or whatever those dogs are called.) in the background, Then in the JGJ drawing, there are no dogs. Vandall Savage's face is hardly recognizable as Anthro's enemy on the fifth page. When you see Vandall Savage in the future, I dont know how you could connect that. The scar on Hal was not easy to notice. He says the biggest hint to the end of final crisis is on page 4. He says that giving Anthro fire is a gift, but the question is, Is fire really a gift or a curse. Who is the first enemy, Savage or Metron? All those details I missed, and reading the Directors Cut opened my eyes. He says: its Genesis. I think the transition art is confusing alot of people (Me Included). I love the look of the art, but the message of whats really going on in the scene is difficult to understand. Martian Manhunter died too quick, The best example is the Anthro/Kamandi scene. It switches from a vision, to him putting Metrons symbol on his face. That was to quick a transition to be potent. but I like researching German and buying every TPB he ever wrote.:evilsmile:

[Adam C]

Read it in bed before going to bed last night. It's interesting how some of Grant's intentions are made more clear by the script and comments. For example, I literally did not notice the spear, spit, and bow & arrows Anthro had in the first issue. Or I did, but they passed me by as background details I didn't realise that he has a bunch of new technology and is continuing to benefit from Metron's gift of knowledge. Nor for that matter that J.G. did draw Nix's apartment as a real-world equivalent to the Monitor's world: a microcosm of the universe.

That said it's interesting that Grant's original script has the Titans that Mirror Master and Light beat down alive and walking to the Hall of Justice as Superman briefs the JLA. I suppose it's a good thing that the art didn't communicate that otherwise they'd have a significant tip-off as to what the Dark Gods are up to, which would clash with the story in rest of the first three issues.

[Agent_Torpor]

, Jones isn't really following all of Morrison's directions, to the detriment of the story-telling IMO.

I got this too, after finally reading the script. It cleared up quite a few scenes for me, where the art may have been too muddled or unclear (the whole scene with Anthro and Kamandi, for instance).

[Magneto Rocks]

Yeah, Jones is a great artist, but I'm not sure he's the best at translating what Morrison wants after reading this...

[berk]

I still haven't looked at the "director's cut" thing, but I would say that this is a problem, and a serious one, with mainstream comics in general rather than with Jones in particular.

Unless you're an artist/writer, or an Alan Moore, whose instructions are so detailed that he's really telling the artist almost exactly what to draw, the writer's vision is never going to be fully realized by the artist.

There might be an upside - greater freedom for the artist might make for superior artwork in some respects - but if the main concern is with the story, then the work as a whole could be said to have suffered for this inevitable lack of perfect coordination between the writer and artist.

[carabas]

I wonder if Jones's problems with following the script are the real reason Pacheco is being brought in.

[Spiffy]

Yeah, Jones is a great artist, but I'm not sure he's the best at translating what Morrison wants after reading this...
In general, I'm pretty annoyed by a medium without a Director having a "Director's Cut" (hey, I get that its appropriating the term to capitalize on people's familiarity with it, but I STILL find it a bit annoying), but I suppose there's a blessing in this if it reveals that some of the apparent problems with Final Crisis may be due to part of the story being left out by the artist. It would explain a lot.

[LtMarvel]

I don't think it's fair to call it a "Director's Cut" It might be better to call it commentary.

Anyway, my eye opener was what was hinted as the end of Final Crisis...

[Doc Goblin]

Wow. It sounds like I need to see this Director's Cut. Just from the few comments about it on here I'm already finding out a ton of stuff I missed.

Though I don't know how much of it can be blamed on Jones. Some, definitely. But that being Vandal Savage in the prehistoric scene? Short of having Morrison script it so the Libra scene took place right after it and there being a transition shot of Savage's face or something, I'm not sure what Jones could've done.

[berk]

Finally looked at this. Probably not worth the price, but certainly quite interesting to read the comments from Morrison & Jones. It makes me feel bad about my criticisms of Jones's efforts, because it's clear he's really put a lot of thought and care into his work here. I just don't feel the results have come through for him. But a lot of that could be due to my personal lack of feeling for his particular style. I never have been a great fan of the Neal Adams, Alan Davis school of comic book artwork that I think Jones is part of. Also, they should have printed his pencils, not the inked art in B&W, which never looks right, IMO, in the Essentials collections or here.

[GRANT!]

Wow. It sounds like I need to see this Director's Cut. Just from the few comments about it on here I'm already finding out a ton of stuff I missed.

Though I don't know how much of it can be blamed on Jones. Some, definitely. But that being Vandal Savage in the prehistoric scene? Short of having Morrison script it so the Libra scene took place right after it and there being a transition shot of Savage's face or something, I'm not sure what Jones could've done.

Is it even that necessary to the overall story?

I thought it was just a Easter Egg.

[carabas]

Short of having Morrison script it so the Libra scene took place right after it and there being a transition shot of Savage's face or something, I'm not sure what Jones could've done.Morrison scripted that modern Vandal Savage should have a very Neanderthalish face, but Jones drew him nothing like that. If you know Vandal Savage, it is a fair assumption that the Neanderthal supervillain was him, but if you don't... he apparently had some major cosmetic surgery done. Modern Savage looks nothing like his ancient self.

Is it even that necessary to the overall story?

I thought it was just a Easter Egg.It is actually somewhat relevant to the plot, as it illustrates how millenia of supervillainy have basically failed, until now.